Resumen
Los amantes pasajeros sigue la pauta iniciada por Almodóvar en La mala educación (2004) de rehacer en clave creativa largometrajes de la primera década de su carrera profesional. Esa forma de reciclaje cinematográfico es una manera de inducir en su público espectador reflexiones históricas sobre la situación social y política de España, igual que la evolución de su propio estilo autoral. En particular, el film se sirve de una intrincada estrategia intertextual para producir una nostalgia por las comedias almodovarianas de los años 80. Los amantes pasajeros es, en efecto, casi una parodia almodovariana de un film de Almodóvar. Los diálogos, el argumento y los personajes reciclan material local pero 1 Marvin d’Lugo is Principal Editor of Studies in Spanish and Latin American Cinemas. His primary areas of research include Theory and Practice of Film Authorship and Transnational Hispanic cinemas. He has authored The Films of Carlos Saura: The Practice of Seeing (Princeton University Press, 1991); Guide to the Cinema of Spain (Greenwood Press, 1997); Pedro Almodóvar (University of Illinois Press, 2006), and is co-editor of Companion to Pedro Almodóvar (Wiley-Blackwell, 2013).
Palabras clave: Autores globales, memoria histórica, Pedro Almodóvar, comedia loca, cine transnacional
Abstract
Los amantes pasajeros (2013) follows a pattern initiated by Almodóvar in La mala educación (2004) of creatively remaking films from the first decade of his career. This form of cinematic recycling is a means of inducing in his audience historical reflections on the changing social and political situation in Spain as well as on the evolving nature of Almodóvar’s own authorial style. In particular Los amantes pasajeros uses an intricate intertextual strategy to produce for viewers a nostalgia for Almodóvar’s comedies of the 1980s. The film thus appears almost to be a parody of an Almodóvar comedy. Dialogue, action and characters recycle local Spanish materials but also direct elements of the plot to international audiences, giving rise to an intensified transnational aesthetic. That process is tied historically to Almodóvar’s gradual transformation from a commercial auteur into an «auteur of Global commerce».
Keywords: Global Auteurism, Historical memory, Pedro Almodóvar, Screwball comedy, Transnational cinema